Theory Disscusion, Feel free to ask, blues, jazz, funk, rock,... Options

[Ivan Milenkovic]

Feel free to ask any theory question that you don't know the answer to, and I'll try to help.

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[Ivan Milenkovic]

Looks like just the sort of drop in thread I need.

Despite playing for almost 2 years now, I'm was a complete beginner in terms of theory until I read a few of Andrew's theory threads a couple of days ago. Everything was explained really well, but I'm still not quite sure how I should practise or play a scale.

For example:


If I was to learn that, what notes would I play, and in what order?
Cheers,

Jason

Hey guys, I'm back.

Look you need to approach differently to that problem. You have to ask yourself:"What is this on the fretboard?" No really I'll explain..: Here we have a portion of the Gmajor scale on the neck, that is really easy to play. Blue dots are the notes within the scale, and yellow ones are the root (G) notes. So what will you actually learn by knowing this pattern? Well not much really....you will know only...the pattern. BUT if you read the next text, maybe some things will get more clear:

Here we have a Gmajor scale. Since we have these notes from a Gmajor scale in use we will say that we are inside of a Gmajor tonality or a key. Tonality is built around one major scale (in our case we have Gmajor scale off course). So, when you see this scale you know that it has 7 notes and a specific tone-semitone (tone=two frets;semitone=one fret distance) disposition. Something like this:


G - tone - A - tone - B - semitone - C - tone- D - tone- E - tone- F# - semitone - G

Example of this would be the distance between the F# and the G notes. As you can see, they always are at one fret distance from each other.

So why is this important, you're probably scratching your head right now... Well because when you start out from a different note, for example from A note, and play the same notes written in your fretboard here:

you'll get a whole another scale with some other tone-semitone intervals thus building the MODES of the Gmajor key. There are 7 MODES in a Gmajor key as there are 7 notes. Now watch this carefully:

start from G you get: Ionian MODE
start from A you get: Dorian MODE
start from B you get: Phrygian MODE
start from C you get: Lydian MODE
start from D you get: Mixolydian MODE
start from E you get: Aeolian MODE
start from F# you get: Locrian MODE

So, I think you are aware that you need to know all these modes and theory, since it will be a lot easier for you to construct your own exercises and to practice scales.

For the end I suggest that you practice your scales for starters like on the picture shown bellow: with three note per string patterns, as they can be easier to remember. This is just the first mode, build the rest based on what I've told you, and post if you have any questions...And YES you DO have to learn the whole thing But take it easy man

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Don't miss today's free lick. Plus all our lessons are packed with free content!

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This post has been edited by Milenkovic Ivan: Jan 8 2008, 02:35 AM

[Moon Boots]

Hey guys, I'm back.

Look you need to approach differently to that problem. You have to ask yourself:"What is this on the fretboard?" No really I'll explain..: Here we have a portion of the Gmajor scale on the neck, that is really easy to play. Blue dots are the notes within the scale, and yellow ones are the root (G) notes. So what will you actually learn by knowing this pattern? Well not much really....you will know only...the pattern. BUT if you read the next text, maybe some things will get more clear:

Here we have a Gmajor scale. Since we have these notes from a Gmajor scale in use we will say that we are inside of a Gmajor tonality or a key. Tonality is built around one major scale (in our case we have Gmajor scale off course). So, when you see this scale you know that it has 7 notes and a specific tone-semitone (tone=two frets;semitone=one fret distance) disposition. Something like this:
G - tone - A - tone - B - semitone - C - tone- D - tone- E - tone- F# - semitone - G

Example of this would be the distance between the F# and the G notes. As you can see, they always are at one fret distance from each other.

So why is this important, you're probably scratching your head right now... Well because when you start out from a different note, for example from A note, and play the same notes written in your fretboard here:

you'll get a whole another scale with some other tone-semitone intervals thus building the MODES of the Gmajor key. There are 7 MODES in a Gmajor key as there are 7 notes. Now watch this carefully:

start from G you get: Ionian MODE
start from A you get: Dorian MODE
start from B you get: Phrygian MODE
start from C you get: Lydian MODE
start from D you get: Mixolydian MODE
start from E you get: Aeolian MODE
start from F# you get: Locrian MODE

So, I think you are aware that you need to know all these modes and theory, since it will be a lot easier for you to construct your own exercises and to practice scales.

For the end I suggest that you practice your scales for starters like on the picture shown bellow: with three note per string patterns, as they can be easier to remember. This is just the first mode, build the rest based on what I've told you, and post if you have any questions...And YES you DO have to learn the whole thing But take it easy man

oooooooooooohhhhhh...I seeee!!! So that's what modes are! I was actually playing different modes without even realising

Your post encouraged me to slow down and think about the notes of the scale, and what I was actually doing when I was playing it, that's definatly much better than just speeding through everything as fast possible and not really understanding it. And after reading what you said about modes I checked out Andrews theory lesson on modes and things are really starting to make sense now.

Thanks a lot Ivan

Jason

You are at GuitarMasterClass.net

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[kjutte]

oooooooooooohhhhhh...I seeee!!! So that's what modes are! I was actually playing different modes without even realising

Your post encouraged me to slow down and think about the notes of the scale, and what I was actually doing when I was playing it, that's definatly much better than just speeding through everything as fast possible and not really understanding it. And after reading what you said about modes I checked out Andrews theory lesson on modes and things are really starting to make sense now.

Thanks a lot Ivan

Jason

Would like to add that even though you start on another note, you aren't really modulating until you change the root notes.

Edit: sorry for hijacking aswell

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This post has been edited by kjutte: Sep 29 2008, 12:08 PM